English A: Language and Literature for the IB Diploma Coursebook sample by Cambridge International Education

Executive Preview

At Cambridge University Press, Brighter Thinking drives our approach to English. A solid foundation of research and partnerships with teachers from around the world underpins the resources we publish to support students and teachers. This research, alongside best practice pedagogy and world-class authors, helps us to understand the needs of English learners and tailor our resources to best address these. Through a flexible suite of resources, designed to meet a wide range of needs, Better Learning is possible. Students can accelerate their learning and develop skills for life, setting themselves up for success at university and to be able to engage critically with texts throughout their adult lives. To understand your needs, I carried out online surveys with teachers, attended workshops in the Netherlands and the US, and spoke to teachers from all over the world. The key findings were that: navigating the syllabus and assessment is a challenge; differentiation is important, including accommodating learners from different linguistic backgrounds; 21st century skills, especially critical thinking, are valued; and teachers spend a lot of time creating content, especially audio-visual content. To address these needs, we have made a number of improvements: You told us you liked the clear navigation in Brad’s coursebook and this will remain. There will be three sections: a new section on text types; the main material of the book will be structured around nine global issues; and a new assessment section, guiding learners through all four of the new assessments. The global issues will in turns be structured around the three new areas of exploration. In addition, there will be a new Exam Preparation and Practice book in 2020, to help navigate assessment in the latter months of the course. The text types section analyses model texts, and writing tasks include step-by-step scaffolded tasks to guide learners through the process of writing. Differentiation is also addressed through Higher Level extension activities at the end of each unit. This new edition is much more a learner’s book than a textbook, with tasks which involve learners in critical thought and communication and collaboration in the classroom. There will also be a brand-new teacher’s resource to save you time. It will include PowerPoint presentations, curated audio and video ideas, and photocopiable worksheets, all created by Tim Pruzinsky and David McIntyre from InThinking. They have also included a number of practical teacher development essays. I’m very pleased to share with you a draft chapter from Brad’s forthcoming coursebook. Please do take the time to read through it and consider how it might support you and your students. To complement this series please take a look at our Cambridge Topics in English Language series page. If you would like more information, or have any questions, please contact your local sales representative: cambridge.org/education/find-your-sales-consultant James Frith Commissioning Editor – English Cambridge University Press

Hi there, This is Brad Philpot, author of the new English A: Language and Literature Coursebook for the IB Diploma. I’d like to tell you about the second edition. For those of you who are familiar with the first edition, you may not recognise this new edition. Essentially, I have written a new book. First of all, the whole coursebook is now activity based. Narratives, explanations and definitions have been removed, simplified or pushed to the glossary. This has created more room for stimulating source texts and classroom activities. In other words, the book is no longer about ‘what you should know’ but ‘what you can do with what you know’ and ‘how you can find out more’. Textual analysis, after all, is a skill that requires inquiry, practice and application. This new coursebook provides a range of opportunities to do these things. Besides activities and texts, frequent connections are made throughout the coursebook to the areas of exploration and concepts from the new Language A: Language and Literature guide. Marginal features ask questions that point to these aspects of the syllabus and to the elements of the IBDP Core, such as international mindedness, CAS, TOK and the EE. The coursebook is divided into three major sections. The first section tackles 12 different text types, one type per unit. Activities help students find patterns between texts and explore their defining features. On different forms of assessment, students will need to show their understanding of individual text types, both literary and non-literary. The second section explores nine different themes or global issues. There is one issue per unit, and there are three units per chapter. These units integrate questions from all three areas of exploration, multiple types of texts and different assignments for the learner portfolio. The themes are pitched to capture students’ interests and encourage global citizenship. They include: racism, colonialism, feminism, beauty, masculinity, immigration protest, politics and war. The third section is about assessment. You will find example scripts, practice papers and examiner comments on the new forms of assessment. There are four chapters, one on each assessment component. These include: the Paper 1 Guided textual analysis, Paper 2 Comparative essay, HL essay and Individual oral. The activities in this section help students develop skills in preparation for these forms of assessment. All in all, I think you will find the new coursebook a very hands-on tool for you and your students to use in a classroom setting, encouraging everyone to engage with texts and each other. I wish you all the best in your language and literature journey! Brad Philpot Author, English A: Language and Literature for the IB Diploma Coursebook

Series overview The English A: Language and Literature for the IB Diploma second edition series includes a coursebook, Cambridge Elevate edition, a Cambridge Elevate Teacherâ&#x20AC;&#x2122;s Resource and an exam preparation and practice workbook.

Engage your critical thinkers Available in 2019, and completely revised in line with the new guide, resources with an activity-based methodology, digital sources and assessment opportunities, for first examination in 2021. Engaging activity-based coursebook and Cambridge Elevate edition introducing students to a broad range of language source texts including graphic novels, movie stills and curated video and audio sources. With an emphasis on 21st century skills and scaffolded writing to support learners with a variety of educational needs. New teacherâ&#x20AC;&#x2122;s resource with clear explanation and guidance around the IB, syllabus and assessment programme, schemes of work, including PowerPoint presentations, photocopiable worksheets and teacher development essays. Coming in 2020, exam preparation and practice workbook with an introduction to assessment plus four full tests with a graded sample oral (includes audio), and written responses with examiner comments delivered through an assessment for learning approach.

How to use this book The introduction gives you confidencein the new guide and assessment, including transparent assessment criteria

Section head

Contents How to use this book

Introduction to the language and literature course

viii

Section 1 Text types Unit 1.1 Images and magazine covers

Unit 1.2 Advertisements

142

Unit 3.2 Colonialism

160

Unit 3.3 Immigration

181

Unit 4.1 War

200

Unit 4.2 Protest

215

Unit 4.3 Politics

234

Unit 1.3 Film and commercials

Unit 1.4 Political cartoons

Unit 1.5 Comics and graphic novels

Unit 1.6 Street art

Unit 1.7 Speeches

Unit 1.8 News article

43 52

Chapter 6 Paper 2: Comparative essay (SL/HL)

271

Unit 1.9 Blogs Unit 1.10 Short stories and novels

Chapter 7 HL essay (SL/HL)

291

Unit 1.11 Play scripts

Unit 1.12 Poems

Section 2: Global issues for the learner portfolio

Section 2 is structured around 9 global issues. Each unit progressively explores the 3 areas of exploration

Unit 3.1 Racism

Chapter 4: War, protest and politics

Chapter 1: Exploring text types

The firstsection deconstructs a range of text types including graphic novels and advertisements

Chapter 3: Racism, colonialism and migration

Section 3: Assessment Chapter 5 Paper 1: Guided textual analysis (SL/HL)

251

Chapter 8: Individual oral (SL/HL)

309

Glossary

327

This section takes an activity-driven approach to develop skills in all 4 assessments

Acknowledgements

Chapter 2: Femininity, masculinity and ‘beauty’ Unit 2.1 Feminism

Unit 2.2 Masculinity

106

Unit 2.3 Beauty

124

Word banks provide key literary terms (criterion D in assessment). These are compiled in the glossary

Unit 1.7 Speeches Word bank

Learning objectives

rhetorical device

• learn to identify several commonly used rhetorical devices and discuss how

paralanguage anaphora diacope

they construct meaning

• develop the skills to analyse how context helps shape the language and meaning of speeches.

antithesis chiasmus anadiplosis amplification metaphor alliteration tricolon

Throughout this course, you will study speeches and the contexts in which they were spoken.You will be asked to consider: what makes a speech engaging for its audience? Great speeches are full of interesting rhetorical devices, several of which will be explored in this unit. But most important, in your study of speeches, is to explore the potential effects of these devices on their audiences. This unit will give you the tools to deconstruct and analyse speeches by introducing you to several rhetorical devices and the opportunity to look closely at two great speeches.

Clear learning objectives ensure you know where you are going

appeal ethos pathos logos argument parallelism hypophora

TIP For any speech that you explore in class, you may want to do an online search to see or hear the speech being delivered. Hearing a speech and watching the speaker will allow you to appreciate its use of paralanguage. Paralanguage refers to the nonlexical component of communication, such as facial expressions, pitch, intonation, speed of speaking and gestures.

repetition antithesis figurative speech polysyndeton allusion target audience persona

Getting started 7.1 How much do you already know about rhetorical devices? Nine rhetorical devices are introduced here in a matching exercise. Match the quotations in the left column with their rhetorical devices and counter examples on the right.

1 ‘Ask not what your country can do for you, but what you can do for your country.’ – John F. Kennedy

a Anaphora: the repetition of word or phrase at the beginning of a sentence, such as ‘I have a dream’ (Martin Luther King).

2 ‘We will have no truce or parley with you, or the grisly gang who work your wicked will.’ – Winston Churchill

b Diacope: The repetition of a phrase, after an intervening word or phrase such as ‘Free at last, free at last; thank God almighty, free at last!’ (Martin Luther King).

3 ‘We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills’ – Winston Churchill

c Antithesis: contrasting two opposing ideas in consecutive sentences, such as ‘many are called, but few are chosen’ (Jesus Christ).

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Getting started features activate existing knowledge and engage you with the topic

How to use this book

Exploring text types

This 2nd edition has been completely revised and contains many more texts

Model text Text 1.29

This is your victory Barack Obama 2008 Parallelism Hypophora

Model texts are analysed to help you understand the key features of the text type

Repetition

If there is anyone out there who still doubts that America is a place where all things are possible, who still wonders if the dream of our founders is alive in our time, who still questions the power of our democracy, tonight is your answer. It’s the answer told by lines that stretched around schools and churches in numbers this nation has never seen, by people who waited three hours and four hours, many for the first time in their lives, because they believed that this time must be different, that their voices could be that difference.

Antithesis

It’s the answer spoken by young and old, rich and poor, Democrat and Republican, black, white, Hispanic, Asian, Native American, gay, straight, disabled and not disabled. Americans who sent a message to the world that we have never been just a collection of individuals or a collection of red states and blue states. We are, and always will be, the United States of America.

Figurative language

It’s the answer that led those who’ve been told for so long by so many to be cynical and fearful and doubtful about what we can achieve to put their hands on the arc of history and bend it once more toward the hope of a better day.

It’s been a long time coming, but tonight, because of what we did on this date in this election at this defining moment, change has come to America.

tricolon and polysyndeton

allusion

I was never the likeliest candidate for this office. We didn’t start with much money or many endorsements. Our campaign was not hatched in the halls of Washington. It began in the backyards of Des Moines and the living rooms of Concord and the front porches of Charleston. It was built by working men and women who dug into what little savings they had to give $5 and $10 and $20 to the cause. It grew strength from the young people who rejected the myth of their generation’s apathy, who left their homes and their families for jobs that offered little pay and less sleep. It drew strength from the not-so-young people who braved the bitter cold and scorching heat to knock on doors of perfect strangers, and from the millions of Americans who volunteered and organized and proved that more than two centuries later a government of the people, by the people, and for the people has not perished from the Earth. This is your victory. … The road ahead will be long. Our climb will be steep. We may not get there in one year or even in one term, but America – I have never been more hopeful than I am tonight that we will get there. I promise you – we as a people will get there.

There will be setbacks and false starts. There are many who won’t agree with every decision or policy I make as president, and we know that government can’t solve every problem. But I will always be honest with you about the challenges we face. I will listen to you, especially when we disagree.

Unit 1.7 Speeches

Ideas for integrating video

Over to you 7.5 Do an online search for a video called ‘Chocolate Biscuits’ by BBC Two, uploaded by Teaching Heads. It is a speech about chocolate biscuits, which has little meaning but a lot of formal elements of good speech writing. After watching this video, discuss your answers to the following questions. a What is the purpose of this speech, titled ‘Chocolate Biscuits’? b In what ways is it effective in achieving its purpose? c What is the effect of the speech on you? d Look up definitions of the words ‘satire’, ‘parody’, ‘pastiche’ and ‘spoof ’. Which word or words best describe the Chocolate Biscuits speech? Give examples to support your answers.

Step by step writing sequences provide differentiated support where required

7.6 Try writing your own five to eight minute speech about any topic.Take these steps to make this activity a meaningful experience for you and your classmates. a Find a news article or other text about a topic that matters to you. Identify an argument that can be made in response to this text. b Write down your argument in the form of a thesis statement. This should be an opinion, claim or statement about the way you see the world or how the world should be. c Imagine a group of people or target audience who would be interested in your opinion. Write down a description of a context in which you could deliver a speech to these people. If you need to alter your argument or claim, you may.You may consider adopting a persona, meaning that you pretend to be someone you are not. d Create a mind map or outline, which includes evidence that supports your argument. These can include a few key words. Evidence may be taken from any source texts that you can find or from real‑life experiences. e Show your teacher your argument, description of context and outline.You can call this a proposal. Discuss your proposal and the nature of your speech with your teacher. If your teacher wants to assess you on this activity, discuss the criteria on which you will be assessed. You may want to discuss expectations for appropriate language and conventions of the text type (speech), including choice of register. f

Before you write your speech, review some of the rhetorical devices that you have studied in this unit. Can you see an opportunity to include similar devices in your speech?

g Write your speech and show your teacher a complete draft of it. Ask him or her for feedback which is informed by any assessment criteria that you have agreed upon. h Submit your final speech. This may be a piece of formative assessment. As a school you may decide to hold a ‘speech night’ in which you deliver your speeches to your classmates, friends and family. Explain and introduce the context of your speech to your audience before you deliver your speech.

TIP Activity 7.6 refers to ‘formative assessment’, which is assessment for learning and not assessment of learning (summative assessment). As you write and deliver your own speech, think about the skills you are developing. How are these skills useful for your Paper 1, Paper 2, HL Essay or Individual Oral?

Tips prepare you for assessment

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IB English A language and literature

War, protest and politics

Chapter

How do politicians and poets write about war? How do people use language to protest social inequality? How do election campaigns, public speeches and signs use language to promote political ideas?

Each chapter has guiding questions to activate prior knowledge

In this chapter you will:

Each chapter has clear objectives to help you navigate the book

• analyse how language is used for various purposes, such as campaigning for a political office, war mongering or protesting in the streets

• discuss the representation and misrepresentation of politicians and political ideas through various media

• analyse the use of rhetorical devices and argumentation fallacies by politicians.

Unit 4.2 Protest Learning objectives

Word bank

• become familiar with a range of texts that deal with protest against

graphic art

• learn about the contexts where protests have occurred in different places

literary theory

• understand the different traditions of literary criticism.

protagonist

injustices or social inequality and times in history

How is language used to protest against social inequality? There are as many answers to this question as there are texts with this purpose. For centuries people have written songs, books, stories, poems and speeches, and produced posters to speak out against injustices and social inequality.

International mindedness features foster open mindedness and global perspectives

This unit introduces you to a range of protest texts from different times and places. It invites you to think about your own context and how you can use language to change your world.

reader-response criticism conflict antagonist Marxist literary criticism formalism biographical criticism protest sign allusion pun sarcasm

International mindedness

irony

Internationally minded people question the status quo. As you explore this unit on ‘protest’ ask yourself why and how individuals have challenged societies.

manifesto

symbolism slogan ethos logos pathos

Tasks are designed to promote collaboration

Getting started 2.1 Study Texts 4.13–4.16 carefully and discuss your answers to the following questions: a What is the difference between propaganda posters, protest posters, graphic art and visual art? What text types are these texts examples of? b What stylistic and structural features do these texts have in common? Comment both on their use of visual language and words. c Without using the title of the poster, what is the message of each poster? What are they really saying?

The context of texts is explored

d How do they use symbols and icons to construct their message? (See Unit 1.1 for further help on the use of symbols in images and graphic art.) e What do you know about the context of each text? How does this affect your understanding of the message of each one? f

What do you think you need to know before you can properly understand each text?

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How to use this book

War, protest and politics

Text 4.13: Labour clears the way

Text 4.14: Make love not war

AOE questions reference the Areas of Exploration

This edition includes all new images including many more visual texts

Text 4.15: Free South Africa

Text 4.16: Power & Equality (depicting Angela Davis)

Guiding question In what ways is meaning discovered, constructed and expressed? Discuss your class’s answers to this question in response to Texts 4.13–4.16. What can you learn about Keith Haring, Angela Davis, the Labour Party and the hippie movement by studying these images on their own? What can you learn without researching any contextual information and analysing them?

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Unit 4.2 Protest

2.2 Texts 4.13-4.16 may seem outdated in today’s world. Do people still create protest posters? What issues are people protesting about today and what media or text types do they use to do this? Can you find an example of a modern-day text whose purpose is to protest against something? Bring it into class and discuss how it uses language to serve its purpose.

The 7 key concepts are integrated throughout. These activities help develop 21st century skills through doing

2.3 Create a piece of graphic art to protest about a current problem in the world.You do not have to be a skilled artist to do this.You can draw stick figures or copy images from the web. Share your creation with your classmates and explain the choices you made when designing your protest poster.

KEY CONCEPT Creativity Activity 2.3 asks you to create your own protest poster. Creativity, it can be said, is a higher-order thinking skill. In order to create it, you have to consider how your poster will be received and how you will construct your message using language, symbols, colour and layout. As a result, you will be more analytical when viewing other posters.

CAS How can you make the world a better place? Use this question for guidance when developing a CAS project. While CAS is an opportunity to work on self-fulfilment, you can make positive contributions to your community at the same time. Think about the ‘protest’ theme in this unit and how you could make a difference.

CAS and TOK features provide additional activities, while extended essay features provide sample research questions

Readers, writers and texts 2.4 Text 4.17 is a short story which can be seen as a kind of a riddle. For this activity, let’s turn the roles around. Rather than answer discussion questions from this coursebook, think of five questions that you would ask a group of students about this text. These questions should require close reading and textual analysis.

The areas of exploration provide the backbone to each unit

Write each question on a sticky note and display them on a wall. Read everyone’s questions and take down five questions that you did not write. Write a short answer on the back of each sticky note in response to each question. Take turns reading aloud the answers to the questions that you selected. How many of you had similar questions and answers? Text 4.17

An activity-driven approach is taken, rather than an explanatory narrative

Sitting H.E. Francis 1983

In the morning the man and woman were sitting on his front steps. They sat all day. They would not move. With metronomic regularity he peered at them through the pane in the front door. They did not leave at dark. He wondered when they ate or slept or did their duties. At dawn they were still there. They sat through sun and rain. At first only the immediate neighbours called: Who are they? What are they doing there? He did not know. Then neighbours from farther down the street called. People who passed and saw the couple called. He never heard the man or woman talk. When he started getting calls from all over the city, from strangers and city fathers, professionals and clerks, garbage and utilities men, and the postman, who had to walk around them to deliver letters, he had to do something. He asked them to leave. They said nothing. They sat. They sat.

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IB English A language and literature

War, protest and politics

Text 4.18

Literature and poetry (including song lyrics) are integrated throughout

A Song: ‘Men of England’ Percy Bysshe Shelley 1819

Men of England, wherefore plough For the lords who lay ye low? Wherefore weave with toil and care The rich robes your tyrants wear? Wherefore feed and clothe and save From the cradle to the grave Those ungrateful drones who would Drain your sweat – nay, drink your blood?

Percy Bysshe Shelley (1792–1822) is one of the more revered English poets of the Romantic period. His works have influenced many progressive thinkers and writers since.

Wherefore, Bees of England, forge Many a weapon, chain, and scourge, That these stingless drones may spoil The forced produce of your toil? Have ye leisure, comfort, calm, Shelter, food, love’s gentle balm? Or what is it ye buy so dear With your pain and with your fear? The The The The

seed ye sow, another reaps; wealth ye find, another keeps; robes ye weave, another wears; arms ye forge, another bears.

Sow seed – but let no tyrant reap: Find wealth – let no imposter heap: Weave robes – let not the idle wear: Forge arms – in your defence to bear. Shrink to your cellars, holes, and cells – In hall ye deck another dwells. Why shake the chains ye wrought? Ye see The steel ye tempered glance on ye. With plough and spade and hoe and loom Trace your grave and build your tomb And weave your winding-sheet–till fair England be your Sepulchre.

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The areas of exploration are addressed progressively

Unit 4.2 Protest

Time and space 2.9 Another approach to analysing literary texts is biographical criticism.This approach suggests that it is difficult to understand and appreciate a text without knowledge of the author’s life and times. Try to find answers to the following questions. How do their answers inform your understanding of Text 4.18? Which sources did you find most useful in your research? Why? a Who was Percy Bysshe Shelley? b What kinds of political ideas did Shelley propagate? c What kind of life did he lead?

Suggestions for building a learner portfolio appear throughout

d What else did he write? e How were influential leaders such as Karl Marx and Mahatma Gandhi influenced by Shelley?

2.10 Place a copy of Shelley’s poem (Text 4.18) in your learner portfolio and add your own annotations to it. Include any other clippings that you came across in your research for Activities 2.8 and 2.9. How can you connect this poem to ‘protest’ as a global issue? How could you use this text in preparation for an individual oral?

2.11 Text 4.19 is a famous speech by Mahatma Gandhi from 1942.The annotations ask questions about the context of the speech. In pairs, research the answers to these questions. As a class discuss your answers to the following questions: a Could you understand the speech without knowing the answers to the questions in the annotations ? Why or why not? b How was your understanding of Gandhi’s speech affected by what you already knew about him and his cause, before you started researching answers to the questions?

The context of texts is addressed

c What were your answers to the questions in the annotations? d What sources did you find valuable in helping you answer the annotation questions? e Why do you think this speech is often cited as one of the most important speeches of the twentieth century?

LEARNER PROFILE Inquirer An IB learner is an inquirer. To become a better inquirer, get into the habit of asking questions of texts by annotating them, as has been done with Text 4.19.

Guiding question

ATL

How do we approach texts from different times and cultures to our own?

Research Effective research starts by asking appropriate questions. The annotations to Text 4.19 show you how to ask questions of primary sources. These types of questions should guide you on your search for secondary sources, when analysing texts.

Text 4.19 might seem like an artefact from a different time and place. By asking questions about the text, as has been done in the annotations, we have a starting point for researching its context. Apply this method to other texts that you may not understand.

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You can be confident that the 10 attributes of the IB learner profile are being developed

The 5 approaches to learning develop metacognitive skills to make learners better learners. The work to integrate these approaches has been done for you

How to use this book

War, protest and politics

International texts from 5 continents

Text 4.19

The weighting of the book is on providing you with a range of contemporary ‘language’ texts, because you told us that was what you found most timeconsuming to source

Quit India Mahatma Gandhi 1942

Mahatma Gandhi sought India’s independence from Great Britain through non-violent protest.

Who is ‘you’?

Before you discuss the resolution, let me place before you one or two things. I want you to understand two things very clearly and to consider them from the same point of view from which I am placing them before you. I ask you to consider it from my point of view, because if you approve of it, you will be enjoined to carry out all I say. It will be a great responsibility. There are people who ask me whether I am the same man that I was in 1920, or whether there has been any change in me. You are right in asking that question. Let me, however, hasten to assure that I am the same Gandhi as I was in 1920. I have not changed in any fundamental respect. I attach the same importance to non-violence that I did then. If at all, my emphasis on it has grown stronger. There is no real contradiction between the present resolution and my previous writings and utterances. Occasions like the present do not occur in everybody’s and but rarely in anybody’s life. I want you to know and feel that there is nothing but purest Ahimsa in all that I am saying and doing today. The draft resolution of the Working Committee is based on Ahimsa, the contemplated struggle similarly has its roots in Ahimsa. If, therefore, there is any among you who has lost faith in Ahimsa or is wearied of it, let him not vote for this resolution. Let me explain my position clearly. God has vouchsafed to me a priceless gift in the weapon of Ahimsa. I and my Ahimsa are on our trail today. If in the present crisis, when the earth is being scorched by the flames of Himsa and crying for deliverance, I failed to make use of the God-given talent, God will not forgive me and I shall be judged unworthy of the great gift. I must act now. I may not hesitate and merely look on, when Russia and China are threatened. Ours is not a drive for power, but purely a non-violent fight for India’s independence. In a violent struggle, a successful general has been often known to

Which resolution? What is his ‘point of view’? Who is Mahatma Gandhi at this point in history? Who has questioned him and why?

What were his previous writings and utterances?

What is Ahimsa?

What is Himsa?

India’s independence from whom?

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War, protest and politics

Intertextuality: connecting texts 2.12 An interesting type of text for analysis is the protest sign.These are often homemade products of cardboard, pens, glue and tape. Their use of language must be concise and punchy in order to be effective. Furthermore, they often express criticism through the use of:

• allusion, which is a reference to another text • pun, a kind of play on words • other linguistic devices, such as sarcasm, irony or symbolism. Text 4.20 is a photograph taken during an anti-Trump rally in the UK in July 2018. This protest sign borrows elements from another text that you have already studied, the Second World War ‘We Can Do It!’ poster (Text 2.4 from Unit 2.1). Study these two images and discuss your answers to the following questions. a How does the ‘We Can Do It!’ poster (Text 2.4) add meaning to the anti-Trump protest sign (Text 4.20)? b Besides alluding to the ‘We Can Do It!’ poster, how else is meaning constructed? What are the effects of colour, punctuation, font and layout on her audience? c The raised fist is a common symbol of protest. What can you find out about this symbol? Where does it come from? How has it been used before? Why do you think the protester has used it here? d How do other symbols construct meaning in this protest sign? e The woman’s t-shirt also protests Brexit. What does Brexit (Great Britain’s ‘exit’ from the European Union) have to do with an anti-Trump rally? Research the parallels between these two issues. f

When you think of the word ‘protester’, is this woman the kind of person who comes to mind? What makes you say that? Has she changed your associations with the word ‘protester’?

Text 4.20: Anti-Trump protest sign, 2018

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IB English A language and literature

Unit 4.2 Protest

Opportunities for differentiated research

2.13 As well as using images, protest signs often include words. Here are several phrases that have been used on signs to protest about the presidency of Donald Trump in the United States.You may find them confusing without much contextual knowledge. Assign each person in your class a different phrase. Do an online search to learn more about the contexts in which your phrase was used. Try to find how your text is connected to another text or texts of some kind. The phrases allude to statements that President Trump has used, other famous protest signs or slogans from other campaigns. Explain how the meaning of your protest sign’s text is dependent on another text and context. Present your findings to your classmates. a We shall overcomb b Keep your tiny hands off my rights c No you can’t d Pussies grab back e Nope f

I wish this were fake news

g 40% approval. Sad! h Resist bigly i

Trump: bad hombre for the whole world

Are we winning yet? I was told there would be winning.

k Make love not walls l

You’re fired

m Nasty women vote n Lock him up o Make Russia Great Again.

Guiding question In what ways can comparison and interpretation be transformative?

Collaborative tasks

As you research the language of the signs that protest against Donald Trump (Activity 2.13) you may learn something about US politics, presidential campaigns and the 45th President of the United States. What have you learned from your research?

Towards assessment 2.14 In small groups, select a protest movement from the list below or think of another one that you would like to research.

• Find a primary source of any kind (for example, a poem, poster, pamphlet, cartoon or

manifesto) in English, which is relevant to the movement or protest that you have researched.

• Give a copy of this text to another group. Ask them to analyse it without any contextual knowledge about the text.

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This section addresses Paper 1, Paper 2 and/or the individual oral. Sample assessment engages you to actively develop skills to approach assessment

Unit 4.3 Politics

Sample Paper 1 analysis of Text 4.34 Guiding question In what ways does the speaker, Jack Layton, use language that is indicative of the text type, in order to achieve his purpose?

Analysis: In 2011 Jack Layton delivered a speech to his fellow New Democrats in Québec, encouraging them to vote for him as the new Prime Minister of

Canada. His use of language, especially his use of anaphora, tricolon and pronouns, is indicative of speech writing and helps him achieve his purpose of getting people to vote for his New Democrats party. Political speeches are often full of anaphora, and Jack Layton’s speech is no different. Anaphora is the repetition of a word or phrase at the beginning of a sentence. He uses anaphora to give his speech a sense of direction and pace, so that listeners are captured and eager to learn more about his campaign promises. Already in his introduction, Mr Layton speaks of a ‘wind of change’ (line 3). Then he elaborates on this change by starting three sentences with the word ‘wind’: ‘A wind that blows along the St. Lawrence River’ (line 3), ‘A wind of renewal coming from as far as James Bay’ (line 5), and ‘Wind coming from every corner of Québec’ (line 7). The audience imagines both physical winds blowing across these landmarks, along with figurative winds of change of leadership in the country. Furthermore he emphasises the importance of the task of running for ‘Prime Minister’, as he repeats this word at the beginning of nearly each sentence later in his speech: ‘A Prime Minister’s job is make sure the government works’ (line 23), ‘A Prime Minister’s job is to bring people together’ (line 24), and ‘A Prime Minister must ensure Parliament represents the values you cherish’ (line 26). By starting each sentence with this title, he emphasises the respect he has for that position and the way he intends to use that position to change lives for Canadians. Listeners are more likely to associate him with the office of Prime Minister after he has repeated the title so often. In return, they are more likely to vote for him. Like many political speakers, Jack Layton knows how to use tricolon to show how much he has to offer the people of Canada. Tricolons are lists of three, which give audiences a sense of quantity. Throughout his speech he uses tricolon, particular with regard to abstract values, with which no one could really disagree, such as ‘Tolerance, compassion, pride in our differences, respect for democracy, cooperation’ (line 28). Although this is not necessarily a list of three, they comprise a list of ideals that appeal to the listeners’ sense of ethos. Towards the closing of his speech, he uses tricolon to list big challenges that he is willing to face as Prime Minister with the people of Canada, such as ‘job creation, the environment and

Notice the thesis statement uses words from the guiding question. This is good practice.

Notice how the thesis statement answers the guiding question. After you are going to refer to a stylistic device, be sure to explain it.

This paragraph includes two examples of anaphora, with detailed reference. Any strong Paper 1 analysis should refer to target audience frequently.

30 Avoid quoting something as an example when in fact it is not.

Even though this paragraph is about tricolon, it manages to include a reference to another rhetorical feature.

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Annotated sample learner responses help you understand what is expected

How to use this book

Unit 4.2 Protest

Higher level extension 2.18 Here are several quotations about democracy. From these quotations, select: • the one that you agree with most • the one that you disagree with most • one that you find confusing • one that you find funny. For each quote that you have chosen, explain to your classmates why you agree or disagree with it or find it confusing or funny. Then find out more about the person who said one of these things and explain to your classmate why you think he or she may have said this. a ‘Democracy is the art and science of running the circus from the monkey cage.’ – H. L. Mencken b ‘Democracy is good. I say this because other systems are worse.’ – Jawaharlal Nehru c ‘There cannot be true democracy unless women’s voices are heard.’ – Hillary Clinton d ‘The best argument against democracy is a five-minute conversation with the average voter.’ – Winston Churchill e ‘Democracy cannot succeed unless those who express their choice are prepared to choose wisely. The real safeguard of democracy, therefore, is education.’ – Franklin D. Roosevelt f

‘Democracy must be something more than two wolves and a sheep voting on what to have for dinner.’ – James Bovard

g ‘Democracy is the road to socialism.’ – Karl Marx h ‘Democracy is a device that insures we shall be governed no better than we deserve.’ – George Bernard Shaw i

‘A mature society understands that at the heart of democracy is argument.’ – Salman Rushdie

‘Without God, democracy will not and cannot long endure.’ – Ronald Reagan

k ‘Republics decline into democracies and democracies degenerate into despotisms.’ - Aristotle l

‘If you have a sense of purpose and a sense of direction, I believe people will follow you. Democracy isn’t just about deducing what the people want. Democracy is leading the people as well.’ – Margaret Thatcher

Guiding question How can texts offer multiple perspectives on a single issue, topic or theme? Activity 2.18 offers several different perspectives on a single topic: democracy. For any other topic that you are studying, find a range of interesting quotations, discuss them and write about them in your learner portfolio.

2.19 If you and your classmates could ‘take over’ the United Nations for a day, and be able to voice your opinions on how to make the world a better place, what would you say? As a class, make a list of key global issues for the UN to address to ensure that the world becomes a safer, more prosperous place for everyone.

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Unit 4.2 Protest c If you could interview Malala Yousafzai, what would you ask her? Why would you ask her this? d In what ways is her speech similar to, or different from, Mahatma Gandhi’s speech (Text 4.19)? Make a list of similarities and differences.

2.22 In Activity 2.19 you were asked to make a list of global issues that you found particularly

Further reading also includes suggested texts in translation and audiovisual recommendations

important. Choose one of these issues and write a speech about it, which you might deliver at a Youth Takeover of the United Nations.You may adopt a persona (pretending to be someone you are not). Or you may write from your own perspective. Refer to real-life situations, current events and statistics.Your speech should be between 800 and 1000 words. As a school, you may wish to organise an event where speeches are read aloud for friends and parents. Or you may simply read your speech to your classmates in class. Look to Unit 1.7 and other speeches in this coursebook, such as Text 4.22, for inspiration.

Further reading • Kiss of the Spider Woman is a highly acclaimed novel by Manuel Puig, originally in Spanish, about two cellmates in an Argentinean prison.

• Nineteen Eighty-Four by George Orwell is a classic novel – and for good reasons. It details all

aspects of an imaginary oppressive regime through the eyes of Winston Smith, who is tasked with rewriting history for the Ministry of Truth.

• Martin Luther King’s speeches and letters may also be studied as ‘prose other than fiction’ as a literary text for your English language and literature course. These texts will give you an excellent insight into the mind of a revolutionary.

• Letters from Robben Island by Achmed Kathrada is an excellent account of the African National Congress’s struggle against apartheid in South Africa in the 1960s.

Reflect on the unit, develop learning skills, and document ideas in your learner portfolio

REFLECT Do an online search for a video called ‘The Power of Words’, by Andrea Gardner for Purple Feather, which features a woman helping a blind man. What do you think of this video? Look back at the texts you have read in this unit from Mahatma Gandhi to Percy Bysshe Shelley, from Keith Haring to Malala Yousafzai. To what extent have these people been successful in changing the world through their words? Give a short answer to this question with regard to at least one of the texts studied in this unit. As a class, discuss how you can change the world using words.

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Cambridge Topics in English Language Series Editors: Dan Clayton and Marcello Giovanelli

Practical guides that explain the core concepts of language research and analysis These short, highly practical guides provide useful summaries of the core concepts in language research and analysis. Using accessible language and a conversational style, they are designed to encourage independent, investigative thought and to help students improve their written responses, their understanding and coursework. Written to support A Level and IB Diploma qualifications: Cambridge International AS & A Level English Language, AS & A Level English Language and Literature and IB English Language and Literature.

Unit 1.1 Citizens of the world Unit 1.1 Citizens of the world

Contents Contents

Chapter 1: Exploring text types Chapter 1: Exploring text types

Unit 3.1 Racism Unit 3.1 Racism Unit 3.2 Colonialism Unit 3.2 Colonialism Unit 3.3 migration Unit 3.3 migration

Chapter 4: War, protest and politics Chapter 4: War, protest and politics Unit 4.1 War Unit 4.1 War Unit 4.2 Protest Unit 4.2 Protest Unit 4.3 Politics Unit 4.3 Politics

SA M

Unit 1.1 Magazine covers Unit 1.1 Magazine covers Unit 1.2 Advertisements Unit 1.2 Advertisements Unit 1.3 Film and commercials Unit 1.3 Film and commercials Unit 1.4 Political cartoons Unit 1.4 Political cartoons Unit 1.5 Graphic novels Unit 1.5 Graphic novels Unit 1.6 Street art Unit 1.6 Street art Unit 1.7 Speeches Unit 1.7 Speeches Unit 1.8 Newspapers Unit 1.8 Newspapers Unit 1.9 Blog Unit 1.9 Blog Unit 1.10 Prose fiction Unit 1.10 Prose fiction Unit 1.11 Plays Unit 1.11 Plays Unit 1.12 Poems Unit 1.12 Poems

Chapter 3: Racism, colonialism and migration Chapter 3: Racism, colonialism and migration

How to use this book How to use this book Introduction Introduction Section 1: Text types Section 1: Text types

Section 2: Global issues Section 2: Global issues for the learner portfolio for the learner portfolio

Chapter 2: Femininity, masculinity and ‘beauty’ Chapter 2: Femininity, masculinity and ‘beauty’

Section 3: Assessment Section 3: Assessment Chapter 5 Chapter 5 Paper 1 Paper 1

Chapter 6 Chapter 6 Paper 2 Paper 2

Chapter 7 Chapter 7

HL Essay HL Essay

Glossary Glossary Acknowledgements Acknowledgements

Unit 2.1 Feminism Unit 2.1 Feminism Unit 2.2 Masculinity Unit 2.2 Masculinity Unit 2.3 Beauty Unit 2.3 Beauty

The authors and publishers will acknowledge the sources of copyright material within the final version of this publication. While every effort is made, it is not always possible to identify the sources of all the material used, or to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting. Original material © Cambridge University Press 2018 Original material © Cambridge University Press 2018

Unit Unit 1.1 Unit Unit1.1 1.1 1.1 Images Images and magazine covers Images Imagesand and andmagazine magazine magazinecovers covers covers

Learning Learningobjectives objectives Learning Learningobjectives objectives

InIn your your English English A:A: Language Language and and Literature Literature course course you you will will often often bebe asked asked to to deconstruct deconstruct images. images. InFor In your your English English A:A: Language Language Literature Literature course course you you often often beclass, be asked asked to to deconstruct deconstruct images. images. For example, example, there there could could bebe aand cartoon aand cartoon onon your your Paper Paper 1 will exam. 1 will exam. InIn class, your your teacher teacher may may ask ask you you Forto example, there could beand aadvertisements. cartoon onon your Paper 1will exam. InIn class, teacher may ask you For example, there could be aadvertisements. cartoon your Paper 1will exam. class, your teacher may ask you to analyse analyse graphic graphic novels novels and This This unit unit help help you you toyour to develop develop useful useful skills skills for for to deconstructing analyse graphic novels and advertisements. This will help you to to develop useful skills for to analyse graphic novels and advertisements. unit help you develop useful skills for deconstructing thethe images images that that you you cancan find find in in aThis range aunit range ofwill of texts. texts. Furthermore, Furthermore, you you can can apply apply these these deconstructing the images that cancan find inunit: a unit: range of texts. Furthermore, cancan apply these deconstructing the images you find in a range of texts. Furthermore, you apply these tools tools to to thethe type type of of text text that that isthat featured isyou featured in in thisthis thethe magazine magazine cover. cover. you tools to to thethe type of of text that is featured in in thisthis unit: thethe magazine cover. tools type text that is featured unit: magazine cover.

• •Learn Learn how how toto read read visual visual texts, texts, exploring exploring the the relationship relationship between between words words • •Learn Learn how how toto read read visual visual texts, texts, exploring exploring the the relationship relationship between between words words and and images. images. and and images. images.

• •Develop Develop skills skills toto analyse analyse how how meaning meaning is is constructed constructed inin magazine magazine covers. covers. • •Develop Develop skills skills toto analyse analyse how how meaning meaning is is constructed constructed inin magazine magazine covers. covers.

Getting Getting started Getting Gettingstarted started started

1.1 1.1‘An‘Animage image says says a thousand a thousand words’, words’, as as thethe saying saying goes. goes. Most Most likely, likely, you you seesee hundreds hundreds of of images, images, 1.1 1.1‘An‘Animage image says says a thousand a thousand words’, words’, asday, as the the saying saying goes. goes. Most Most likely, likely, you see hundreds hundreds of of images, photographs photographs and and advertisements advertisements every every day, whether whether you you areare conscious conscious of of ityou or itseeor not. not. But But how how doimages, do photographs photographs and and advertisements advertisements every every day, day, whether whether you you are are conscious conscious of of it or it or not. not. But But how how dodo images images communicate communicate ideas? ideas? Images Images communicate communicate ideas ideas through through signifiers. signifiers. The The message message they they images images communicate communicate ideas? Images Images communicate communicate ideas ideas through through signifiers. signifiers. The The message message they they communicate communicate is what is what is ideas? signified. is signified. Texts Texts 1.1–1.3 1.1–1.3 each each depict depict anan apple, apple, thethe same same signifier. signifier. What What is is communicate communicate is what is what is signified. is signified. Texts Texts 1.1–1.3 1.1–1.3 each each depict depict an an apple, apple, the the same same signifier. signifier. What What is signified signified in in each each image, image, however, however, is different. is different. OnOn a copy a copy of of thethe table table below, below, indicate indicate what what is signified is issignified signified signified in in each each image, image, however, however, is different. is different. On On a copy a copy of of the the table table below, below, indicate indicate what what is signified is signified in in Texts Texts 1.1–1.3. 1.1–1.3. in in Texts Texts 1.1–1.3. 1.1–1.3.

Word Word bank bank Word Word bank bank signifier signifier signifier signifier symbol symbol symbol symbol logo logo logo logo icon icon icon icon composition composition composition composition negative negative space space negative negative space space rule rule ofof thirds thirds rule rule ofof thirds thirds visual visual narrative narrative visual visual narrative narrative anchoring anchoring anchoring anchoring caption caption caption caption illustration illustration illustration illustration ears ears ears ears teasers teasers teasers teasers headlines headlines headlines headlines body body language language body body language language gaze gaze gaze gaze

Text Text1.1 1.1 Text Text 1.1 1.1 Apple Apple sign sign onon farm farm

Adam Adam and and Eve Eve

Apple Apple sign sign onon farm farm

Text Text1.2 1.2 Text Text 1.2 1.2 Adam Adam and and Eve Eve

Biscuit Biscuit Eight Eight LLC/Corbis/VCG LLC/Corbis/VCG 2011 2011 Biscuit Eight LLC/Corbis/VCG 2011 Biscuit Eight LLC/Corbis/VCG 2011

Text Text1.3 1.3 Text Text 1.3 1.3 Apple Apple logo logo Apple Apple logo logo

Apple Apple Computers Computers Apple Computers Apple Computers 2000 2000 2000 2000

22 22

Lucas Lucas Cranach Cranach 1528 1528 Lucas Cranach 1528 Lucas Cranach 1528

Original Original material material ©© Cambridge Cambridge University University Press Press 2019 2019 Original Original material material ©© Cambridge Cambridge University University Press Press 2019 2019

Unit 1.1 Images and magazine covers

Signifier

Signified

Text 1.1 – apple

means

Text 1.2 – apple

means

Text 1.3 – apple

means

Text 1.5

Dove and olive branch

Hammer and sickle pin

United Soviet Socialist Republic (USSR) 20th century

Signifier

Text 1.6

Text 1.7

‘You’ve got mail’

Emoji

Daniel Sambraus 2018

Bortonia 2017

Text 1.4

1.2 When analysing images, you will need to describe the relationship between signifiers and the things they signify. An image may be a symbol,, meaning that it stands for something abstract. A heart, for example is often a symbol of love. An image may be an icon,, meaning it resembles the thing it represents. In this case a heart may direct you to the cardiology department of a hospital. On a copy of the table below, indicate what is signified in Texts 1.4–1.7. A logo is a design used to represent an organisation so that the company or organisation becomes associated with the design. Are these images symbols or icons?

P. Bombaert for Getty Images 2018

What is signified?

Symbol or icon?

Text 1.4 – hammer and sickle Text 1.5 – dove

Text 1.6 – envelope Text 1.7 – emoji

KEY CONCEPT Communication

People use symbols and icons for communication on a daily basis. Think for example of emoticons, which are a mix of icons and symbols. Some emoji faces resemble the emotions that they represent, meaning they are icons. Some hand signs, such as a ‘thumbs up’, are cultural and arbitrary, meaning there is nothing inherent in how they construct meaning. Do you use emojis to communicate? In which context do you use them?

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Text types

a Why has the creator of this image chosen a white dress? b What else can you say about the use of colour? c What is the effect of the dark space behind Gabriel Sabatini? d As a symbol, what does the milk moustache stand for?

1.4 Photographers do not always place their subject in the centre of their photos. If you were to draw lines over Text 1.8, cutting up the image into three even columns and three even rows, Sabatini’s milk moustache appears at the intersection of the top row and the right column. The rule of thirds,, often applied by artists and photographers, tells us that viewers often look to the places where these three columns and three rows intersect. Study Text 1.9 and divide the image into nine equal-sized boxes, using the rule of thirds. What appears near the intersections of the imaginary columns and lines?

Text 1.8

Text 1.9

‘Got Milk’

Small but tough

TOK How do you know what you know? This is the guiding question for theory of knowledge. How do you know that a hammer and sickle are visual symbols for ‘communism’? Were you taught this? Did you discover this? Have you only just learned this by doing Activity 1.2? Think of other symbols which are not inherently obvious in their meaning. Bring an image of a symbol to class and ask your classmates if they know its meaning and how they know its meaning.

1.3 Before you can deconstruct images, it helps to think about how images are constructed.When analysing symbols and their placement in an image, you need to consider an image’s composition, a term taken from visual arts, which refers to the author’s arrangement of objects in relation to each other, the use of colour and contrast, the amount of negative space, and the use of light and depth. Study Text 1.8 and answer the following questions.

Goodby Silverstein & Partners for the California Milk Processor Board 1993

Volkswagen 2005

1.5 The Russian playwright Anton Chekhov once said ‘Never place a loaded rifle on the stage if it isn’t going to go off ’. Although Chekhov was speaking about theatre, the same holds true for images. If there is a causal relationship between the signifier and the signified, then there is a visual narrative narrative. What does this mean? It means that an image can tell a story. Smoke suggests fire. A bruised eye suggests a fistfight. Comment on the visual narratives of Text 1.8 and 1.9 by answering the questions below. a What is signified in each image? b What signifiers have constructed these meanings? c What story is being told in these images? What happened before each image? What will happen after each image? d How do these stories achieve their respective purpose?

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Unit 1.1 Images and magazine covers

1.6 Imagine Texts 1.8 and 1.9 without any words. It may seem rather funny to see a tennis star with a milk moustache and a giant gorilla with a hurt foot with no explanation. The images’ meanings are anchored in the words. Anchoring is the process of making an image meaningful by adding words, such as a caption. It is also the process of making words meaningful by adding images, such as an illustration. a How does the meaning of the image in Text 1.10, an HSBC advertisement, change when it is anchored in three different captions: ‘décor’, ‘souvenir’ and ‘place of prayer’.

b How does the meaning of the word ‘accomplishment’ change when anchored in three different illustrations in Text 1.11?

LEARNER PROFILE open-minded

Text 1.10

How do texts 1.10 and 1.11 promote open-mindedness?

Décor, souvenir, place of prayer

HSBC 2008

Text 1.11

Accomplishment

2008

KEY CONCEPT Perspective

Notice how Texts 1.10 and 1.11 encourage you to see things from a different perspective. As a fun activity, find an interesting advertisement, remove or hide the slogan and ask a classmate to guess the slogan to give the image meaning. How do words give you a perspective on an image or vice versa?

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Text types

Guiding question In what ways is meaning discovered, constructed and expressed? As you can see from Texts 1.10 and 1.11, you can discover meaning by exploring the relationship between image and words. Many mass media texts like advertisements construct meaning by combining words with images in illustrations and captions.

International Mindedness

The HSBC advertisements used for Activity 1.6 (Texts 1.10 and 1.11) are perfect for discussing international mindedness. How can people see the same thing differently? Part of becoming internationally minded is the acceptance that people may interpret what you see differently and also be right. The last line of the IB mission statement reads: ‘others, with their differences, can be right’. What does this mean for you?

Model text

1.7 Study Text 1.12, a magazine cover depicting Sarah Palin. Read the accompanying box defining features of a magazine. Have a discussion on how Newsweek has depicted Sarah Palin as a strong or weak political figure.

Text 1.12

How do you solve a problem like Sarah?

Newsweek November 23 2009

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Unit 1.1 Images and magazine covers

Key features explained Examples from Text 1.12

Title: The type of font and its use of colour comment on the nature of the magazine and the context of its readership. Consider how some magazines place their title in front of the subject on the cover, while others place it behind their subject.

Bold, serif and high contrast suggest strength, and are often used for opinion magazines such as Newsweek.

Ears and teasers: The upper left and right corners are known as the ‘ears’ of the cover. Headlines in the ears are also called ‘teasers’, as they invite the reader to look inside the newspaper or magazine.

‘A Global Innovation Survey’ and ‘Obama and Fort Hood’ appear in the ears and act as teasers.

Key features

Headlines and captions: These are statements, questions or phrases which capture the reader’s attention and lead the articles. Which lines stand out most?

‘How do you solve a problem like Sarah?’ captures the reader’s attention. The caption, ‘She’s bad news for the GOP – and for everybody else, too’ smacks of bias, which is appropriate for opinion magazines.

The camera is slightly below Sarah Palin’s eye level, making her appear relatively strong. However, this full body shot makes her look rather insecure.

Symbols: What goes into the composition? Objects tend to symbolise abstract ideas.

The American flag, the mobile phones (plural!) and Palin’s trainers are not arbitrarily placed into the frame. They symbolise something. Can you guess what?

Lighting and colour: Is the lighting crisp or warm? Is there high or low contrast? What associations do you have with the colours? Brighter images generally exude warmth and friendliness.

Notice the use of red, which grabs the reader’s attention. Red is in the US flag, the title and Palin’s running shirt. It is also the colour of the Republican Party. Her legs reflect and ‘shine’.

Photograph: Most magazine covers include photographs of people or people’s heads (known as ‘head shots’). Consider camera angle in relation to the subject. Looking down on a subject may make her appear weak. Looking up at a subject may make her appear strong.

ATL Research Each unit in Chapter 1 explores a different text type. Each unit presents a different ‘model text’ and ‘key features explained’. While definitions from this coursebook may be useful, you should research more examples of each text type and discuss any features that you find typical of the text type. Try to curate a range of text types in your learner portfolio as you study this language and literature course.

1.8 In order to analyse photographs of people thoroughly, such as the one of Sarah Palin on the cover of Newsweek (Text 1.12), you may need to know more about body language. Body language may be considered as a kind of stylistic device or structural feature of a visual text. Study the following five aspects of body language below and discuss how they relate to Text 1.12. How do they add, to or take away from, the ‘power’ that Sarah Palin seems to have? • Smiles and teeth: One’s mouth can express emotions quite clearly. Smiles, especially those showing teeth, make one look friendly, jovial and affable.

• Gaze: Is the subject looking at the camera, to the side of the camera, or to a faraway place? The subject’s gaze has an effect on the reader. Looking away from the camera can make one appear aloof, distant or unapproachable. Looking into the camera, on the other hand, makes the subject appear engaged with the reader.

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Text types

• Position of hands: Hands matter. Crossed arms tend to make one look strong. Fidgeting hands are a sign of weakness.

• Skin: Skin means exposure. This may be interpreted as vulnerability, sexual availability or athletic ability, depending on the context.

• Torso: If the subject leans forward, they appear eager to engage with the reader or listener. If they lean backward, they seem disengaged.

Text 1.13

Over to you 1.9 In 2013, Australian Prime Minister, Julia Gillard, did a photo shoot for Australian Women’s

Weekly,, in which she was depicted knitting. The image has been included here as Text 1.13. Imagine you are the editor of a magazine and you are going to place this image on your cover. Add headlines and teasers to intrigue your imaginary target audience. Think of a purpose for your magazine, and use language to match this purpose.

Julia Gillard photo shoot

When you have shared your headlines and teasers with your classmates, do an online image search using terms such as ‘Julia Gillard knitting’ and ‘Sydney’s Daily Telegraph’. Telegraph’. How does the Daily Telegraph’s’s representation of Gillard compare to yours? Apply what you learned about body language from Activity 1.8

KEY CONCEPT Representation

How is a particular person represented in the media? How is our notion of political power constructed by the media? Activity 1.9 asks you to construct your own representation of Julia Gillard. What do you already know about Julia Gillard? What do you need to find out about her in order to do Activity 1.9?

Grant Matthews/Australian Women’s Weekly 2013

Further reading

• This Means This,This Means That: A User’s Guide to Semiotics to Semiotics by Sean Hall is a good starting point for those who are interested in learning more about how meaning is constructed by text and image.

• Picturing Texts Texts by Lester Faigley, Diana George, Anna Palchik and Cynthia Selfe offers a well-illustrated introduction to visual literacy and semiotics. well

8 Original material © Cambridge University Press 2019

Unit Unit 2.1 Unit Unit2.1 2.1 2.1 Feminism Feminism Feminism Feminism

Learning Learningobjectives objectives Learning Learningobjectives objectives

How How dodo men men and and women women think think and and actact differently? differently? How How feminine feminine oror masculine masculine should should wewe be?be? How How do do men men and and women women think think and and actfor act differently? differently? How How feminine feminine or or masculine masculine should should we we be?be? What What occupations occupations and and roles roles are are best best for men men and and women women in in society? society? These These questions questions areare difficult difficult What What occupations occupations and and roles roles are are best best for for men men and and women women in in society? society? These These questions questions are are difficult difficult to to answer answer without without gender gender stereotyping. stereotyping. Nevertheless Nevertheless you you seesee implicit implicit answers answers to to these these questions questions to to answer answer without gender gender stereotyping. stereotyping. Nevertheless . Nevertheless you you seesee implicit implicit answers answers to to these these questions questions regularly regularly inwithout in TV TV commercials, commercials, press press advertisements advertisements oror TV TV shows. shows. Only Only critical critical viewers, viewers, however, however, regularly regularly inhow in TV TV commercials, commercials, press press advertisements advertisements or or TV TV shows. shows. Only Only critical critical viewers, viewers, however, however, examine examine how the the media media construct construct stereotypes stereotypes and and gender gender expectations. expectations. examine examine how how thethe media media construct construct stereotypes stereotypes and and gender gender expectations. expectations. This This unit unit asks asks you you to to deconstruct deconstruct various various messages messages about about women women and and explore explore thethe idea idea of of This This unit unit asks asks you you toinvited to deconstruct deconstruct various various messages messages about about women women and and the the idea idea of offrom feminism. feminism. You You are are invited to to bebe critical critical and and analytical analytical as as you you explore explore aexplore range aexplore range of of text text types, types, from feminism. feminism. You . You are are invited invited to to be be critical critical and and analytical analytical as as you you explore explore a range a range of of text text types, types, from from advertisements advertisements to to poems. poems. advertisements advertisements to to poems. poems.

• •Appreciate Appreciate how how a range a range ofof texts, texts, from from different different periods periods and and cultures, cultures, show show • •Appreciate Appreciate how how a range a range of of texts, texts, from from different different periods periods and and cultures, cultures, show show different different representations representations of of women women different different representations representations ofof women women

• •understand understand a variety a variety ofof cultural cultural and and temporal temporal contexts contexts inin order order toto engage engage • •understand understand a variety aof variety ofof cultural cultural and and temporal temporal contexts contexts inin order order toto engage engage with with the the topic topic of gender gender stereotyping stereotyping with with the the topic topic ofof gender gender stereotyping stereotyping

• •Develop Develop skills skills inin analysis, analysis, interpretation interpretation and and evaluation evaluation ofof texts texts • •Develop Develop skills skills inin analysis, analysis, interpretation interpretation and and evaluation evaluation ofof texts texts • •Develop Develop skills skills inin listening, listening, speaking, speaking, reading, reading, writing, writing, viewing, viewing, presenting presenting • •Develop Develop skills skills inin listening, listening, speaking, speaking, reading, reading, writing, writing, viewing, viewing, presenting presenting and and performing. performing. and and performing. performing.

Word Word bank bank Word Word bank bank gender gender stereotyping stereotyping gender gender stereotyping stereotyping feminism feminism feminism feminism representation representation representation representation riddle riddle riddle riddle sexism sexism sexism sexism prejudice prejudice prejudice prejudice discrimination discrimination discrimination discrimination misogyny misogyny misogyny misogyny denotation denotation denotation denotation connotation connotation connotation connotation association association association association facial facial expression expression facial facial expression expression appeal appeal toto probability probability appeal appeal toto probability probability argumentation argumentation fallacy fallacy argumentation argumentation fallacy fallacy pronoun pronoun pronoun pronoun imperative imperative imperative imperative condescension condescension condescension condescension parody parody parody parody tone tone tone tone anaphora anaphora anaphora anaphora suffrage suffrage suffrage suffrage literary literary theory theory literary literary theory theory feminist feminist literary literary criticism criticism feminist literary criticism feminist literary criticism free free indirect indirect speech speech free free indirect indirect speech speech secondary secondary source source secondary secondary source source primary primary source source primary source primary source gender gender equality equality gender equality gender equality

TIP TIP TIP TIP

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Unit 2.1 Feminism

Getting started 1.1 Here is a brief riddle for you to discuss with a classmate. A father and son are in a horrible car crash that kills the dad. The son is rushed to the hospital; just as he’s about to go under the knife, the surgeon says, ‘I can’t operate–that boy is my son!’. Explain.

CAS Service to others is sometimes centred on those who are marginalised. Think about what you could do to help people who suffer prejudice and discrimination.

If you were confused when you read this, you were probably working from the assumption that surgeons must be men! Why do people make such assumptions about gender and occupation? Does it mean they are sexist? Sexism is prejudice, stereotyping or discrimination,, often against women, on the basis of gender.

a nurse

b doctor

d flight attendant

c pilot

professor

grade school teacher

h security guard

plus-size model.

g hairdresser

1.2 Is language inherently sexist? Why do the following phrases sound strange if you replace

each noun with the opposite gender? For example, why do people say ‘working mother’ but not ‘working father’? Are these examples of misogyny (a dislike of, or contempt for, women)? a working mother (a mother who works) works)

b soccer mom (US) (a mother involved involved in her child’s sports) c mumpreneur eneur (UK) (a mother entrepreneur) d throw w like a girl (not to throw forcefully)

e she wearss the pants (US)/trousers (UK) (woman in charge of a relationship) employed) housewife (a wife who is not employed)

TOK IIn n your Theory of K Knowledge nowledge course, llanguage anguage is considered a way of knowing. In other words, knowledge is acquired through language. But language can be used to manipulate readers into believing something that is not true. Many words have a denotation, an exact meaning, and a connotation, an emotional association. Words about gender are no different. The words ‘mom’ or ‘mum’ denote one’s biological or adoptive mother. But the connotations are as diverse and complicated as the kinds of relationships people have with their mothers. Activities 1.1, 1.2 and 1.3 encourage you to think about the various connotations that are communicated through various words and phrases that deal with gender. What are the connotations of the word ‘mum’ or ‘mom’ for you? Do you have any, if English is not your ‘mother’ tongue? Explain.

Read out the list of occupations below and describe the person you imagine for each: a man or a woman. In response to each item, ask yourself why you imagined each as a man or woman. As a class discuss how ideas of gender and occupation are constructed by the media.

g mistress (a man’s man’s secret lover) h tomboy (a tough girl) g irl) i

catfight (two women women fighting)

mommy wars wars (US) (two mothers who fight and argue)

1.3 Text 2.1 is an advertisement for a bank in New Zealand. a How does it use language to rreinforce gender stereotypes while selling you their services? b What are the connotations of the w word ‘mum’ in this text? (See TOK box.) c How could the advertisement convey the same message without the word ‘mum’? d Do you find this text offensive? Give your reasons.

121 Original material © Cambridge University Press 2019

Text 2.1

Exploring themes and texts

A print advertisement for Westpac Bank in New Zealand.

KEY CONCEPT Representation

Text 2.2

Representation is a key concept for this course. As you articulate your analyses of various texts, be specific about which social groups are represented, how they are represented and why they are represented in a certain way. It is not sufficient to simply say an advertisement discriminates against ‘women’. Be more specific and refer to kinds of women who are stereotyped or marginalised.

Readers, writers and texts 1.4 Stereotypes are built through association. For example, if TV shows constantly

depict male police officers eating doughnuts, then police officers become associated with doughnuts and fatty foods. Consequently, viewers assume that most police officers are overweight men, and a stereotype is born! Text 2.2, a page from the first edition of Woman’s Weekly magazine, offers you a glimpse into the past over one hundred years ago, when women worked very hard, but few were employed. The word ‘housewife’ does not appear, but how is this stereotype constructed through the use of symbols, facial expressions, body language, captions, diction and other stylistic and structural devices? How is this stereotype constructed through association? See Unit 1.1 on deconstructing images and Unit 1.5 on graphic novels for more useful tools for analysing this text.

Page 1 from Woman’s Weekly (UK edition), Volume 1 number 1 from 4 November 1911

122 Original material © Cambridge University Press 2019

Unit 2.1 Feminism

1.5 Work in groups of three. • One of you is a time traveller who has gone back to the year 1911.You find yourself in the office of the chief editor of Woman’s Weekly.

• One of you is the chief editor who has just published the first edition of this magazine. If fact he personally created Text 2.2. Try to find a male classmate to play this role.

• In his office is a female reader from 1911, who has come to his office to say how happy she is with this new weekly magazine. Try to find a female classmate to play this role. In your role-playing game, discuss Text 2.2 and how it is helpful or harmful towards mothers. The time traveller may tell the others about the many roles that mothers fulfil in the ‘future’.

1.6 Related to ‘association’ is the appeal to probability..Texts often depict and describe

a Why is the text titled ‘How to please a husband?’

b Why does he have ve a smile on his face as he pours the ketchup?

c Why must ust a wife be convinced that her husband ‘is not unreasonable’ or may like ‘simple, inexpensive foods’? d Why is theree such a long description about the process of, and the products involved in, making the ketchup? e Why does it sayy ‘a condiment that men really relish’ and not women?

Why is theree a quotation and a signature from President Howard J. Heinz himself?

LEARNER PROFILE Inquirer

Activity 1.6 asks many m any specific questions q uestions about a text. Learning to ask questions about a text is a useful skill in the language and literature course. Can you think of more questions to ask in response to this text? This is what inquirers do.

situations in which the reader must make various assumptions in order for the text to be meaningful. It is an argumentation fallacy in which something is taken for granted because it would probably be the case. Study Text 2.3 carefully. Consider the attitudes of the readers who would read this advertisement for Heinz Tomato Ketchup in the 1930s. Discuss your answers to the following questions with regards to probability, assumptions and stereotypes.

g Why is this sauce advertised ertised as one of the 57 varieties?

h Why is the bottle depicted twice in the advertisement? advertisement?

Text 2.3 How to please a husband

Guiding question

How should you approach texts from different times and cultures to our own? Text 2.3 is very different from advertisements in your time and culture. How would you begin to analyse this advertisement? Perhaps you might consider how the same product, Heinz Ketchup, is advertised today? It helps to compare target audiences. If this text is pitched towards housewives in the United States in the 1930s, ask yourself how those housewives are different from housewives today. Continue this discussion by doing an online search for two advertisements for the same product but from a different age.

Heinz Ketchup 1930s

Exploring themes and texts

1.7 What kinds of texts would you think use the second person pronoun ‘you’? You may expect to find this in instructions, speeches, recipes and textbooks (like this one!), but not in advertisements. Yet you have already seen two advertisements (Texts 2.1 and 2.3), which use ‘you’ and all of the texts in this unit so far use ‘we’. Furthermore most of the texts have used imperative verbs, such as ‘come chat’ (Text 2.1) a What is the effect of using ‘we’ e’ and ‘our’ or ‘you’ and ‘your’ in Texts 2.1–2.3? b How does the use of pronouns onouns contribute to the construction of gender stereotypes in these texts? c What is the effect of using imperatives es in shaping the reader’s response to these texts?

Time and space

d Condescension is the act of belittling someone or speaking down to them. Do you detect condescension in Texts 2.1–2.3? If so, where does it appear? Can you find evidence of it in the text?

1.8 Text 2.2 (1911) and Text 2.3 (1930s) may seem rather outdated with their attitudes towards mothers and wives. In the box below are adjectives that you can use in the following discussion. Which words describe good mothers and wives:

• back then

• nowadays

• both then and now?

How have values changed and evolved? Refer to evidence from previous texts or other texts to justify your answers. independent dependent unquestioning enlightened devoted hard-working thoughtful cost-conscious obedient agreeable firm involved attractive self selfself-sacrificing -sacr sacrificing ificing educated graceful meticulous resourceful smart diligent care care-takers

In the early 20th century, good mothers and wives were seen as …

Both then and nowadays, good mothers and wives are seen as …

Nowadays, good mothers and wives are seen as …

1.9 As you discuss the evolving attitudes towards mothers and wives over the past 100 years, it will help if you understand the concept of feminism. What is feminism? a Write do down your own definition of feminism on a piece of paper and give it anonymously to your teacher. b Ask your teacher to read out everyone’s definition of this word. c Do an online search for the most widely accepted definitions of this word. d How are these definitions different from your own? e What is the opposite of feminism? There is no correct answer to this question, only informed responses.

Unit 2.1 Feminism

LEARNER PROFILE Principled An IB learner is ‘principled’. What are the principles of feminism? To what extent are the principles of feminism valued in the country where you live?

1.10 One of the most commonly used symbols of the feminist movement today is Text 2.4. Do an online search for more information about this text and discuss your answers to the following questions.

Text 2.4 ‘We can do it!’

a Why is this image often mistakenly enly referred to as ‘Rosie the Riveter’? Who was that? And why is this not Rosie? b What type of text is this? What purpose pose did it once serve? What purpose does it serve these days?

• • • • •

c Explore the use of the following: colour and style of drawing body language symbols the rule of thirds

other stylistic devices that construct meaning.

d Why do you ou think this text has become a symbol for the feminist movement?

J. Howard Miller for Westinghouse Electric 1943

1.11 Parody is the act of imitating a text’s style and structure for a humorous effect. Do an online search for one of the many parodies that have been made of ‘We Can Do It!’. In pairs present one of these parodies to your classmates. Ensure that no two pairs present the same parody. In your presentation explore answers to the following questions: parody been created? What is the author’s purpose? a Why has this parody

bor row stylistic and structural elements from the original ‘We Can Do It!’ poster? b How does it borrow your parody depend on the target audiences’ knowledge of people, c How does the meaning of your places, times and other texts? much of the original message from ‘We Can Do It!’ is still present in your parody? d How much

Guiding question

How does the meaning and impact of a work change over time? What if J. Howard Miller could see how people were using Text 2.4 today? What would he say? When considering how the meanings of texts have changed over time, as in Activities 1.10 and 1.11, it’s often useful to ask what an author in the past would think of present times. Apply this strategy to your analysis of other texts.

Exploring themes and texts

1.12 When discussing texts, we often talk about tone. ‘Tone’ describes the writer’s attitudes, as expressed through the language of the text. Before you read Text 2.5, look up the definitions of the words below (a–k), all of which are associated with tone.You might do this activity with a group of people, with each person responsible for finding the definition of one or two words. After you have found and understood the meanings of these words, read Text 2.5. Which words describe the tone of this text? What makes you say this? Justify your answers by referring to examples from the text. b

critical

biting

d mocking

pleasant

sarcastic

g cynical

jolly

subversive

complacent

ironic

Text 2.5

Why I Want a Wife

a tongue-in-cheek

I belong to that classification of people known as wives. I am A Wife. And, not altogether incidentally, I am a mother. Not too long ago a male friend of mine appeared on the scene fresh from a recent divorce. He had one child, who is, of course, with his ex-wife. He is looking for another wife. As I thought about him while I was ironing one evening, it suddenly occurred to me that I too, would [5]like to have a wife. Why do I want a wife? I would like to go back to school so that I can become economically independent, support myself, and if need be, support those dependent upon me. I want a wife who will work and send me to school. And while I am going to school I want a wife to take care of my children. I want a wife to keep track of the children’s doctor and dentist appointments. And to keep track of mine, too. I want a wife to [10]make sure my children eat properly and are kept clean. I want a wife who will wash the children’s clothes and keep them mended. I want a wife who is a good nurturing attendant to my children, who arranges for their schooling, makes sure that they have an adequate social life with their peers, takes them to the park, the zoo, etc. I want a wife who takes care of the children when they are sick, a wife who arranges to be around when the children need special care, because, of course, I cannot miss classes at school. My wife must arrange to lose time at work and not lose the job. It may mean a small cut in my wife’s income from time to time, but I guess I can tolerate that. Needless to say, my wife will arrange and pay for the care of the children while my wife is working. I want a wife who will take care of my physical needs. I want a wife who will keep my house clean. A wife who will pick up after my children, a wife who will pick up after me. I want a wife who will keep my clothes clean, ironed, mended, replaced when need be, and who will see to it that my personal things are kept in their proper place so that I can find what I need the minute I need it. I want a wife who cooks the meals, a wife who is a good cook. I want a wife who will plan the menus, do the necessary grocery shopping, prepare the meals, serve them pleasantly, and then do the cleaning up while I do my studying. I want a wife who will care for me when I am sick and sympathise with my pain and loss of time from school. I want a wife to go along when our family takes a vacation so that someone can continue to care for me and my children when I need a rest and

Unit 2.1 Feminism

change of scene. I want a wife who will not bother me with rambling complaints about a wife’s duties. But I want a wife who will listen to me when I feel the need 35 to explain a rather difficult point I have come across in my course of studies. And I want a wife who will type my papers for me when I have written them.[…] If, by chance, I find another person more suitable as a wife than the wife I already have, I want the liberty to replace my present wife with another one. 40 Naturally, I will expect a fresh, new life; my wife will take the children and be solely responsible for them so that I am left free. When I am through with school and have a job, I want my wife to quit working and remain at home so that my wife can more fully and completely take 45 care of a wife’s duties. My God, who wouldn’t want a wife? Judy Syfers 1970

a When was it written? b Where was it first read aloud? c Why did the writer write it?

1.13 Do an online search to find out more about the context of Text 2.5.

d To what extent does this text express the ideals of feminism, which you discussed in Activity 2.9?

1.14 Discuss your answers to the questions below as a class, referring to Text 2.5. a Judy Syfers says she ‘wants a wife’. But what does she really want?

b What attitudes towards men are expressed in this text? Where do you find evidence of this?

c What is the effect of repeating the words ‘I want?’ on the audience? This an example of anaphora, the repetition of a phrase at the beginning of a sentence. Why is anaphora used here? d This text was written and read to an audience in 1970. Is Judy Syfers’ main message, as expressed in this text, still relevant today? Or is it outdated? What makes you say this?

International Mindedness Text 2.5 explores the meaning of ‘wife’ and ‘mother’ and the connotations associated with these words. In countries around the world, the roles of wives and mothers are defined differently according to cultural norms and expectations. These norms and expectations are constantly evolving and changing. Have each student in your class research a different country in the world, with examples of developing and developed countries, Anglophone and non-Anglophone countries. Try to find answers to the following questions about your chosen country, thinking about the past ten years. Share your findings with your classmates. Don’t worry if you haven’t been able to find answers to all the questions. a Until what age do women attend school, on average? b What is the average age for women to have a first child? c How many children do women have, on average? d What is the difference in salaries between women and men?

Exploring themes and texts

KEY CONCEPT Transformation One of the key concepts for this course is transformation. Texts can be transformative in the sense that they change your understanding of the way the world works. How does Text 2.5 change the way you see motherhood?

Intertextuality: connecting texts 1.15 This unit has asked you how definitions of motherhood have changed over time.Texts 2.6 and 2.7 show how the recruitment of women for military service has changed.

a Study both advertisements tisements carefully, thinking about the guiding question: ‘In what ways do the linguistic and visual features of these two armed forces recruitment advertisements appeal to different cultural values from different times and places, while trying to achieve a similar purpose?’

b Takee notes on both texts using a copy of the table below. Look at Units 1.1 and 1.2 for more information about the key features of advertisements and images. c Before you ou write a comparative analysis of these texts, ask your teacher if you will be assessed on this assignment. Discuss the kinds of criteria that you should use to assess your work.You may want to look at the Paper 2 and Individual Oral criteria, as both have a comparative element. If you want to do this assignment as an HL Essay, read those criteria carefully.

d Based on your notes and understanding understanding of the assessment criteria, write a comparative analysis of 1,200–1,500 words. e Show your your comparative analysis to your teacher and ask for constructive feedback.

Rewr ite your comparative analysis and place it in your learner portfolio under ‘Feminism’. Rewrite Text 2.7

Text 2.6

Target audience and their response Author’s purpose

Use of image, including camera angle and symbols (see Unit 1.1) Use of layout and structure (see Unit 1.2) Author’s choice of words (diction)

Unit 2.1 Feminism

Text 2.7

Text 2.6

Advertisement for the UK Women’s Royal Army Corps 1971

Advertisement for the US Navy 2015

Guiding question

How do conventions evolve over time? Text 2.7 was created 34 years after Text 2.6. You can see a clear evolution of structural conventions for this type of text, an advertisement for recruiting women. How have these conventions evolved? Write about this in your comparative analysis (Activity 1.15).

Towards assessment 1.16 For your individual oral you are asked to explore a literary and non-literary text on a common global issue. In order to practise your individual oral, prepare and conduct a ten-minute talk in which you compare and contrast Texts 2.8 and 2.9 on the women’s suffrage movement. Follow the steps below. a Research the movement on women’s right to vote in the early 20th century, the origin of the texts and their authors.

Exploring themes and texts

b Annotate copies of both texts to highlight the key features. Look at Units 1.1, 1.2 and 1.12 for more about the key features of advertisements, images and poetry. c Make a bullet-pointed outline with key ideas. d Record yourself giving this ten-minute talk. Listen to the recording carefully and assess yourself using the assessment criteria for the individual oral, to be found at the beginning of the book. e If you think you ou could improve on any aspects of your performance, try recording another attempt. f

Share your our final recording with a classmate or your teacher to receive their feedback.

See Chapter 8 for more information on the individual oral.

Guiding question

How can texts offer multiple perspectives on a single issue, topic or theme?

Text 2.8 Females

Not so, saith she, ye slander me! No parasite am I. I earn my living as a wife; My children take my very life; Why should I share in human strife, To plant and build and buy?

The female fox she is a fox; The female whale a whale; The female eagle holds her place As representative of race As truly as the male.

This question from the area of exploration called ‘intertextuality’ is a good point of departure for an individual oral. Consider how the perspectives of Texts 2.8 and 2.9 are different.

The mother hen doth scratch for her chicks, And scratch for herself beside; The mother cow doth nurse her calf, Yet fares as well as her other half In the pasture far and wide. The female bird doth soar in air; The female fish doth swim; The fleet-foot mare upon the course Doth hold her own with the flying horse – Yea and she beateth him! One female in the world we find Telling a different tale. It is the female of our race, Who holds a parasitic place Dependent on the male.

The human race holds highest place In all the world so wide, Yet these inferior females wive, And raise their little ones alive, And feed themselves beside. The race is higher than the sex, Though sex be fair and good; A Human Creature is your state, And to be human is more great Than even womanhood! The female fox she is a fox; The female whale a whale; The female eagle holds her place As representative of race As truly as the male.

Charlotte Perkins Gilman 1911

Unit 2.1 Feminism

Text 2.9

America when feminized

Southern Woman’s League for Rejection of the Susan B. Anthony Amendment 1913

1.17 Whether or not you are reading a literary work about feminism or women’s roles in society,

you may find one of the following four questions appropriate for a practice Paper 2 essay. ways ys and for what reasons do two of the literary works that you have read depict a a In which wa struggle between men and women? b In what wa ways ys and for what reasons do two of the literary works that you have read give women a voice? c How ha have ve the authors of two of the literary works that you have read use language to comment on gender inequality? have ve two of the literary works that you have read been written and received differently d How ha by difference audiences.

1.18 Activity 1.16 asks you to develop and deliver a practice individual oral on Texts 2.8 and 2.9. To prepare for this, you should create an outline similar to the example shown below.

• Compare the points in this example outline to your own. How did you organise your individual oral similarly or differently?

• Are there ideas that you can take from this outline, to improve your own performance on these two texts?

Exploring themes and texts

An individual oral should have a thesis statement, just like an essay. Outlines should include many examples Use signs, underlining, italics, bold or other features to structure your outline and help you. Notice the structure of this outline: switches back and forth between texts, focusing on a common stylistic device. The structure is not required but useful. Use signs, underlining, italics, bold or other features to structure your outline and help you.

Introduction Global issue: Women’s rights to vote. Why Charlotte Perkins Gilman? Why ‘America when feminized’. Both show a side of a debate on the women’s suffrage movement. Thesis statement:: Both texts, despite their differences in structure and purpose, use imagery, analogy and direct narration in order to persuade their audience on their viewpoints on the women’s suffrage movement in the early 20th century.

Imagery/analogy and ‘Females’ Example 1: Eagles, fox, whales ➞ appeal to natural world Example 2: Wives and ‘little ones’ ➞ address guilt and responsibility Example 3: Women as parasites ➞ womanhood is below humankind

Start your introduction with the ‘why’. Briefly explain why your global issue matters to you.

Sample outline for individual oral

Imagery/analogy and ‘America when feminized’

Example 1: Hen and rooster ➞ caricatures of people, shift of power Example 2: Suffrage sash ➞ overzealous women Example 3: ‘Sissies’ ➞ feminized men are perceived as weak

What is your global issue? Begin with this central organising principle. See chapter 8 on global issues.

Direct narration and ‘Females’

Example 1: 5th stanza: ‘I’ first-person, ‘no parasite am I’ ➞ defensive tone Example 2: 5th stanza: ‘wife’ and ‘children’ ➞ irony parasitic relationship Example 3: 5th stanza: Question: ‘Why should I?’ ➞ lack of ambition

Direct narration and ‘America when feminized’

Example 1: Hen’s speech bubble: ‘set on them … old man!’ ➞ independence Example 2: Rooster’s speech: ‘eggs get cold’ ➞ responsibility Example 3: Quote by Dr. William J. Hickson ➞ appeal to authority

Conclusion

Be sure to refer to the importance of context in understanding your two texts.

Both texts reference the natural world to make a case on what is ‘natural’ for women and power. ‘‘America America when feminized’ seems ridiculous in today’s context, but it shows how women once used (visual) language to oppress other women.

Conclusions restate previous points and reiterate the thesis statement.

Higher level extension 1.19 As you explore literature, you will discover various schools of literary theory.You could say that these are lenses through which readers view literary works. One such school of literary theory is feminist literary criticism criticism, which is informed by feminist theory and the politics of feminism. This school of literary theory has developed since the early 20th century and approaches literary works by:

• studying the representation of men and women and how they reflect society’s pressures and expectations,

• analysing the use of language, imagery and narration to construct these gender roles, • examining the balance and significance of female authors in the world of literature. Read the following passage from The Grass is Singing by Doris Lessing, which is set in Southern Rhodesia (now Zimbabwe) in the 1940s. Discuss how a feminist literary critic would analyse the text, especially with regard to the first two bullet points above.

Unit 2.1 Feminism

Text 2.10 The Grass is Singing

But all women become conscious, sooner or later, of that impalpable, but steel-strong pressure to get married, and Mary, who was not at all susceptible to atmosphere, or the things people imply, was brought face to face with it suddenly, and most unpleasantly. She was in the house of a married friend, sitting on the veranda, with a lighted room behind her. She was alone; and heard people talking in low voices, and caught her own name. She rose to go inside and declare herself: it was typical of her that her first thought was, how unpleasant it would be for her friends to know she had overheard. Then she sank down again, and waited for a suitable moment to pretend she had just come in from the garden. This was the conversation she listened to, while her face burned and her hands went clammy. ‘She’s not fifteen any longer: it is ridiculous! Someone should tell her about her clothes.’ ‘How old is she?’ ‘Must be well over thirty. She has been going strong for years. She was working long before I began working and that was a good twelve years ago.’ ‘Why doesn’t she marry? She must have had plenty of chances.’ There was a dry chuckle. ‘I don’t think so. My husband was keen on her himself once, but he thinks she will never marry. She just isn’t like that, isn’t like that at all. Something missing somewhere.’ ‘Oh, I don’t know.’ ‘She’s gone off so much, in any case. The other day I caught sight of her in the street and hardly recognized her. It’s a fact! The way she plays all those games, her skin is like sandpaper, and she’s got so thin.’ ‘But she’s such a nice girl.’ ‘She’ll never set the rivers on fire, though.’ ‘She’d make someone a good wife. She’s a good sort, Mary.’ ‘She should marry someone years older than herself. A man of fifty would suit her … you’ll see, she will marry someone old enough to be her father one of these days.’ ‘One never can tell!’ There was another chuckle, good-hearted enough, but it sounded cruelly malicious to Mary. She was stunned and outraged; but most of all deeply wounded that her friends could discuss her thus. She was so naïve, so unconscious of herself in relation to other people, that it had never entered her head that people could discuss her behind her back. And the things they had said! She sat there writhing, twisting her hands. Then she composed herself and went back into the room to join her treacherous friends, who greeted her as cordially as if they had not just that moment driven knives into her heart and thrown her quite off balance; she could not recognize herself in the picture they had made of her! Doris Lessing 1950

Guiding question

How do texts engage with local and global issues? How does Doris Lessing engage with the issue of marriage in The Grass is Singing (Text 2.10)? Do you consider ‘marriage’ a global or a local issue? Give reasons for your answer.

The contents of this teacherâ&#x20AC;&#x2122;s resource sample is a print version of a digital product and consequently may vary visually from the actual resource.

English A: Language and Literature for the IB Diploma

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Unit Unit Unit Unit 2.1: 2.1: 2.1: 2.1: 1.1: Feminism Feminism Feminism Feminism Images and magazine covers Worksheet Worksheet Worksheet Worksheet Worksheet 1111

Perspectives Graphic Graphic Graphic Graphic Organiser Organiser Organiser Organiser for for for for Activity Activity Activity Activity 1.16 1.16 1.16 1.16

The ideaa of ‘perspective’ suggests that there is no one correct way of seeing or reading. In fact, the IB, in its mission statement, makes the claim that ‘other people, with their differences, may also be Comparing Comparing Comparing Comparing and and andcontrasting and contrasting contrasting contrasting Texts Texts Texts Texts 2.8 2.8 2.8and and 2.8 and2.9 and 2.9 2.9for for 2.9 foran an for anindividual individual an individual individual oral oral oraloral right’.

As a class, ass, debate this claim. To what extent do you agree with it? Is it also possible that ‘other Text Text Text Text 2.8 2.8 2.82.8 Text Text Text Text 2.9 2.9 2.92.9 people, with their differences, may also be wrong’?‘America ‘Females’ ‘Females’ ‘Females’ ‘Females’ by by by Charlotte Charlotte Charlotte by Charlotte Perkins Perkins Perkins Perkins Gilman Gilman Gilman Gilman ‘America ‘America ‘America when when when when feminized’ feminized’ feminized’ feminized’ by by by Southern Southern Southern by Southern Woman's Woman's Woman's Woman's League League League League for for for Rejection Rejection for Rejection Rejection of ofof the the the ofSusan Susan the Susan Susan B. B.B. Anthony Anthony Anthony B. Anthony

Now, reconsider the Newsweek magazine cover, ‘‘How Palin?’ How do you solveAmendment aAmendment problem like Sarah Palin? Amendment Amendment 1.1.1. Research Research 1. Research Research about about about about women’s women’s women’s women’s suffrage suffrage suffrage suffrage

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me one of the following roles allocated by your teacher: Assume 3.3.3. Biographical Biographical 3. Biographical Biographical information information information information 3.3.3. Biographical 3. Biographical Biographical Biographical information information information information • • • •

editor of Newsweek magazine The editor

A Republican Party politician, and supporter of Sarah Palin A Democratic Party politician, and opponent of Sarah Palin A linguist with an interest in contemporary media texts

•

Sarah Palin’s daughter

Unit Unit Unit2.1: 2.1: 2.1:Feminism Feminism Feminism •

A historian, reading this text in the year 2050.

Respond to the following prompt: What does this text mean?

Worksheet Worksheet Worksheet111

Following your role-play, play, discuss the following questions, in pairs, and then as a whole class:  What differences in perspective did you hear?

 How canOrganiser youOrganiser explain these differences in Activity perspective? 1.16 Graphic Graphic Graphic Organiser for for for Activity Activity 1.16 1.16

Text Text Text 2.8 2.82.8

 Think about the variety of perspectives you’ve heard. What does this suggest about texts and meaning? Comparing Comparing Comparing and andand contrasting contrasting contrasting Texts Texts Texts 2.8 2.8and 2.8 andand 2.9 2.9for 2.9 foran for anindividual an individual individual oral oraloral ‘Females’ ‘Females’ ‘Females’ by byCharlotte Charlotte by Charlotte Perkins Perkins Perkins Gilman Gilman Gilman

1.1. Research 1. Research Research about about about women’s women’s women’s suffrage suffrage suffrage

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1.1. Research 1. Research Research about about about suffrage suffrage suffrage

Text Text Text 2.9 2.92.9

‘America ‘America ‘America when when when feminized’ feminized’ feminized’ by bySouthern Southern by Southern Woman's Woman's Woman's League League League for forRejection for Rejection Rejection ofofthe the ofSusan the Susan Susan B.B.Anthony Anthony B. Anthony Amendment Amendment Amendment

2.2. Origin 2. Origin Origin ofofthe the of text the texttext

2.2. 2. Origin Origin Origin ofofthe the of text the texttext

3.3. Biographical 3. Biographical Biographical information information information

3.3. 3. Biographical Biographical Biographical information information information

Unit Unit Unit Unit 2.1: 2.1: 2.1: 2.1: Feminism Feminism Feminism Feminism Worksheet Worksheet Worksheet Worksheet 1111

Graphic Graphic Graphic Graphic Organiser Organiser Organiser Organiser for for for for Activity Activity Activity Activity 1.16 1.16 1.16 1.16 6

Text Text Text Text 2.8 2.8 2.82.8

Comparing Comparing Comparing Comparing and and andcontrasting and contrasting contrasting contrasting Texts Texts Texts Texts 2.8 2.8 2.8and and 2.8 and2.9 and 2.9 2.9for for 2.9 foran an for anindividual individual an individual individual oral oral oraloral ‘Females’ ‘Females’ ‘Females’ ‘Females’ by by by Charlotte Charlotte Charlotte by Charlotte Perkins Perkins Perkins Perkins Gilman Gilman Gilman Gilman

1.1.1. Research Research 1. Research Research about about about about women’s women’s women’s women’s suffrage suffrage suffrage suffrage

SA M

1.1.1. Research Research 1. Research Research about about about about suffrage suffrage suffrage suffrage

Text Text Text Text 2.9 2.9 2.92.9

‘America ‘America ‘America ‘America when when when when feminized’ feminized’ feminized’ feminized’ by by by Southern Southern Southern by Southern Woman's Woman's Woman's Woman's League League League League for for for Rejection Rejection for Rejection Rejection of ofof the the the ofSusan Susan the Susan Susan B. B.B. Anthony Anthony Anthony B. Anthony Amendment Amendment Amendment Amendment

2.2.2. Origin Origin 2. Origin Origin of ofofthe the the oftext text the texttext

2.2.2. Origin 2. Origin Origin Origin of ofofthe the the oftext text the texttext

Biographical information 3.3.3. Biographical Biographical 3. Biographical Biographical information information information information

3.3.3. Biographical 3. Biographical Biographical Biographical information information information information

Unit Unit Unit2.1: 2.1: 2.1:Feminism Feminism Feminism Global issue:

Similarities

Worksheet Worksheet Worksheet111 1.

Differences 1.

2. 2. Graphic Graphic Graphic Organiser Organiser Organiser for for for Activity Activity Activity 1.16 1.16 1.16 3. 3. Comparing Comparing Comparing and andand contrasting contrasting contrasting Texts Texts Texts 2.8 2.8and 2.8 andand 2.9 2.9for 2.9 foran for anindividual an individual individual oral oraloral Text Text Text 2.8 2.82.8

‘Females’ ‘Females’ ‘Females’ by byCharlotte Charlotte by Charlotte Perkins Perkins Perkins Gilman Gilman Gilman

1.1. Research 1. Research Research about about about women’s women’s women’s suffrage suffrage suffrage

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1.1. Research 1. Research Research about about about suffrage suffrage suffrage

Text Text Text 2.9 2.92.9

2.2. Origin 2. Origin Origin ofofthe the of text the texttext

2.2. 2. Origin Origin Origin ofofthe the of text the texttext

3.3. Biographical 3. Biographical Biographical information information information

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